Why My colleague Riley Hughes is Wrong, and the 2005 Pride and Prejudice is the Best

Shania Villalobos Rico

It is a truth universally acknowledged that Pride and Prejudice (2005) is a superior adaptation to any other adaptations of Jane Austen’s works. Yes, it’s even better than the 1995 BBC show. The 2005 film, directed by Joe Wright and adapted from Jane Austen’s 1813 novel, stands out for its stunning performances by Keira Knightley and Matthew Macfadyen, as well as its exceptional production values. The film effectively captures the essence of the novel, showcasing the story of the Bennet sisters and the complex romance between Elizabeth Bennet and Fitzwilliam Darcy, while also making it accessible to a broader audience.

Due to the nature of filmmaking and the limited time available, condensing the story is necessary. Yet, this condensation isn’t necessarily bad, as it can attract new audiences who may be unfamiliar with Jane Austen’s work. The film’s duration of two hours and eight minutes is far more accessible than the five hours and thirty minutes watch time required for the 1995 TV show. But what makes this shorter length enhance the viewing experience? In simple terms, the 2005 adaptation is easier to digest; it can be enjoyed in one sitting. This format requires less commitment and reduces the intimidation factor for new fans compared to the lengthy TV show—no offense to my colleague Riley Hughes; well, maybe a little. Overall, the 2005 adaptation of Pride and Prejudice is enjoyable for new audiences, fans of the books, those who appreciate the time period, and lovers of Jane Austen’s works.

Personally, this movie means a lot to me and will always hold a place in my heart. I was introduced to the wonderful world of Jane Austen’s literature through this adaptation, which I watched in a classroom full of weeping thirteen-year-olds for our English final. We were literally crying because the characters never kissed. This film changed my life and shaped who I am today; it opened my eyes to a literary world beyond middle-grade book series and inspired me to become a writer. Both the movie and the book taught me that works from 200 years ago can still resonate with people today, encouraging me to pursue a passion I was too afraid to admit I had and influencing my taste in men—apologies to my boyfriend, but Mr. Darcy is perfect.

Costume design is another critical aspect that distinguishes this adaptation. Joe Wright’s decision to style from Austen’s early drafts in the late 18th century rather than the Regency fashion, which he believed to be unattractive. For instance, Caroline Bingley’s early-19th-century attire highlights her high social standing, while the Bennet sisters’ outfits reflect their personalities—pastel colors for the younger sisters, earthy tones for Elizabeth, and white for Jane, which represents her sweetness. It’s the small details that make this film one of a kind!

However, the strongest argument in favor of this movie is the iconic “Hand Flex” scene, which I believe is one of the most memorable moments in the history of filmmaking. In this scene, Darcy helps Elizabeth into the carriage and then walks away, flexing the hand that touched hers. The scene carries significant emotional and historical weight, as it was generally prohibited for ladies to touch others in public without gloves, which is why dancing was the best way to encourage affection. Darcy’s actions go beyond societal norms, demonstrating his early infatuation with Lizzie and underscoring the film’s brilliant direction—a perfect example of show, don’t tell.

Additionally, the film features a unique sense of humor that helps it resonate with a wider audience. One of the most significant aspects of this humor is the casting of Mr. Collins, played by Tom Hollander. While his portrayal doesn’t perfectly match the novel’s description of the character, casting him as a shorter, sillier man rather than a tall, heavy-looking, formal figure was a wise choice. This decision resulted in memorable scenes, such as the dinner scene where Collins exclaims, “What excellent boiled potatoes.” Indeed, this film is akin to those excellent boiled potatoes.

Moreover, cinematography also plays a significant role, utilizing establishing shots to highlight key locations and framing scenes through Elizabeth’s perspective. With over 13 awards and 59 nominations, there is no denying that the film is very well crafted. This visual storytelling, combined with the film’s strong thematic elements and character-driven narrative, contributes to its reputation as one of the outstanding motion pictures of the early 2000s and as the best Austen adaptation, despite my colleague’s false accusation.